Can the Fundamental Principles of writing nonfiction to fiction is Applied?
I have never written fiction and never intended. My 40-year career has been in journalism and marketing communication. However, a few months ago someone who had read my book on expository (nonfiction) write and speak contacted me to ask if I could help with some fiction projects. I am inclined to say no because I could not see what my type Writing has to do with it. By chance, a couple of weeks earlier he had found a compilation of comments on the script by noted novelists and struck by the similarity of what he had to say and what he had to say. So I decided to give it a try.
The lady asked me to study on a novel he had written some years earlier. First, we analyze the prologue of the novel according to some principles and practices of writing exhibition, then consider how revised.
But first, what are these principles? In reality they are only three of them. However, if properly understood and applied to most situations in writing, both creative and expository.
A. Clarity Principle
To be clear, is not a matter of personal opinion. According to the principle of clarity, to be clear that you must do three things:
1. Emphasize what is of vital importance.
2. De-emphasize what is of secondary importance.
3. Delete what is not important.
If you follow the formula, before start writing you must first determine what is of key importance, ie what are the key ideas you want your readers to take from the text?
This not always easy. It is much easier to say that everything is vital, so put in everything you have. However, unless you perform the task of defining what you really want your readers know, not do it for you. They are simply lost in the text, either resign or leave the other side without knowing what they have read.
Then you must be sure to downplay what is of secondary importance. Why? Because if you want your readers to recognize and retain the key ideas I do not want to get lost in the details. Details (information of secondary importance) explain and support the key ideas. Never submerge.
Finally, must eliminate what is not important. Why? Because any information that adds nothing to the explanation and support for key ideas tend to dark. This is exactly the opposite of what he wants.
B. Conciseness Principle
According to the conciseness principle, the text must be as:
1. Time needed
2. Short as possible
"As long as necessary" means to cover all the key ideas you identified under "clarity", and all information of secondary importance needed to explain and support them. Note that it is not said nothing about the number of words, because it is irrelevant. If it takes 500 words "as long as necessary", 500 words must be used. If you need 1500 words, then this is good, too.
"As short as possible" means staying as close to the minimum possible, because all words beyond the minimum tend to damage clarity. Unconsciously, readers are continually trying to understand why the words are there, and will be continually failing because they are useless.
All that it does not add the text, subtracts from it.
C. Density Principle
According to the principle of density, text should contain:
1. Details
2. Logically linked
With the aid clarity accurate information. For example, if you say it is "hot" day, what do you mean? A reader might interpret hot to 24 ° C, while another might interpret is 36 ° C. However, if you say the temperature is 28 ° C, there is no room for interpretation – or misinterpretation.
Using precise information also generates confidence, because it assures its readers that you really know what you're talking about. This helps keep your attention, so it is easier to get across their points.
To these three fundamental principles of expository writing, I would add a specific technique. Analyze each sentence or passage you type to see which could raise the question in the mind of the reader. Then answer!
By Generally, these questions will be subconscious, and the reader will not even be aware of them. However, a long list of "what is this?" and "Why What is that? "Inevitably cause the reader's mind away from what you are trying to say. When you have lost too far, it is unlikely to return.
Readers complain that the text is shallow, boring, dull or confusing. And will be right.
Analysis
Below is the "Analysis" of the prologue of the novel. For maximum benefit, you should probably read the text straight, ignoring comments in parentheses. Then re-read the comments. Finally, compare the original with the "Review", produced by the application of these principles.
The purpose of the prologue is as follows:
1) Insert the main characters
2) Scheme plot
3) Build a sense of mystery and expectation
These are the key ideas, all in the text should be doubled to
———————————–
Aurora looked for his shot as the 737 sign next to it. (Where is she? Could it be possible on the track?). He saw nothing but his faith did not hesitate. (Are you expecting some kind of important event?)
When the plane rolled almost out of sight, he noticed two flashes different. It was Mitch. As always, he had remembered. Almost a year ago, they had devised a code system to communicate from the terminal to the plane when it complained that he could not see in the windows of small plane – a flash of silver box business card meant that he loved her and would return soon. (Just the main event suggested above.)
And she knew that, taking into account the long-awaited engagement ring he had just given away before boarding – A solitary white diamond heart-shaped clusters on both sides and small diamonds set in the band. (Did a man really give a woman a ring commitment at an airport just before flying off to leave for a week?)
More than fifteen minutes passed and finally the airplane engines complained action. Ups and much, Rolls Royce engines break the deadlock weight of the aircraft and the immense mass accelerated by the long strip of asphalt. Once having gained speed, only took a small film of the flaps of the wings and the steel structure was lifted effortlessly into the air and was magically in the air. (This seems a description most dramatic of a plane taking off, particularly for people like Dawn and Mitch, who are accustomed to flying. What is the purpose of this description?)
Aurora heaved a sigh of relief that echoed the few relatives who had remained on both sides of her – a petite woman, a girl, a man.
The plane was safe. (More on the drama of airplane taking off. Is this section really necessary?)
She wiped forehead with a handkerchief Mitch had given him. GMA was initialized – Greg Mitchell Adderby – silver hair, who was his boss, his mentor, his first true love (what age?). Antaeus inhaled the aroma still clung to him – his smell. Then he rubbed the sweat of the palm (still concerned about the take-off?) Against jeans I had bought for her at Harrods in London on his first trip together, his first trip outside of America. Ruby red denim. They were his favorite color, like ties he always wore. That was just a year ago.
It had become such an important part of Mitch's life since then, wisdom and maturity to guide her (how old is Mitch?). He had promised to protect her (against what?). And marveled at the company he co-founded (with whom), Rad Foods International, a company distributing fresh fruits and vegetables and irradiated, a place where he could work happily, sometimes even excel.
But now he was gone. What would I do for a week? (It works in the company?) How she wished that there was no had to stay for the awards dinner, a young designer of Business of the Year. But she was proud of the achievements and recognition. In his absence, Mitch had arranged Gerard Marquis, the seller of lead, to accompany her. "There is no one that I prefer to rely on," he said. (Aurora seems to have won the award. Why? What kind of work do you?)
On the plane, Mitch fumbled nervously with his briefcase (why "nervous"?). Then he looked out the window and could see Aurora in the terminal window large. Long, flowing, dark brown hair. waist long, long time, tips thin. Even from a distance, the bright-colored jeans and a fire angora sweater that clung to her slender body were a beacon for him. "My sunshine, "he whispered, and breathed deeply, thoughtfully. (Where is Mitch going? Where is leaving?)
As his tall figure was reduced to a single point, took off his belt and turned his neck almost the opposite, trying to see a few more seconds.
Suddenly, the plane shook. He was struck suddenly, and jumped from the burning pain in the back head. He faced forward again and rubbed his neck pain. "Ah," he cried, when the plane ripped unbearable again, on this occurrence with even stronger.
"For the love man God, get your head down, "a bearded man next to him cried.
(Why beard? This seems to be a free detail, drawing attention reader away from Mitch.)
"What?"
"Lower your head down."
Confused, Mitch strictly obeyed the order and plunged into the chest to the knees, clutching the silver card case in his breast pocket of his Armani black dress (is this dramatic moment the right time to describe what Mitch is wearing?).
"Fire," someone shouted from the economy section. "It's the engine." (Why economy section? Are we to assume that it is Mitch in business class or first? With the plane in crisis, does it really matter?)
"Put your head between your knees and keep calm," the voice of a screaming woman wailed over the loudspeaker. (Does a trained attendant "cry" in a shrill voice "?) His words were barely audible over the chaos.
As the plane lurched again, a pot rack in open above them, and a live fuchsia bag hit the ship, his break with zipper – Bras, socks and underwear spilling out. So it was delivered on angle of the plane, now that the clothes are tumbled along the corridor with the ease of marbles. (List the contents of the bag of reader attention shifts away from Mitch. Does it matter?).
Along with Mitch, two women were crying hysterically. "This can not be happening," a cry. (Again, the reader's attention shifts from Mitch. Why?)
Unexpectedly, another door opened overhead compartment, this time throwing yellow cups to passengers and fear (Is this sentence necessary?).
"Put on your seatbelt …" the bearded man shouted to Mitch beside him. His hands awkwardly to obey.
On the ground, Aurora swore that the plane lurched unevenly. It was more uphill. Suddenly, another movement was heartbreaking and then jumped down.
"My God, she said, looking with fear at the dangerous angle. Everyone around the terminal Niagara Falls opened in the place. (Why this change of attention from the Aurora, just as has been reset?) The plane was only a few hundreds of meters above the ground, hopeless enough space to level for a soft landing.
Suddenly, the plane is tilted to one side and turned into the building. A colossal explosion of fire spewed from the engine.
"They're going to die!" Someone shouted.
"No!" Aurora was declared a metal mass fell to the pavement with a force that the earth shook violently, as if Goliath was falling to the ground. (This seems to be a metaphor free distracting. Is it necessary?) An airplane wing scraped along the runway with a deafening noise, and thick clouds of choking spilled outside the hull.
An explosion blew out the reaction on the left, and the fire was raging.
Aurora was sure Mitch was one of the windows. She was with him – it is expected the last time he shared a romantic dinner together, the last time you had a kiss slipped at work, the last time I had made love, was to arrive there. (This seems an interlude of distraction during a crisis. Is it necessary?)
Finally, the giant lamed slid to a halt on the track just in front of the window where she stood.
———————————
The scene continues in much the same way, ie raising issues that are not being answered, unnecessary changes of attention, distracting details, etc.
Review the Foreword
Here is the review. See how the implementation of the three principles of written statement (Clarity, conciseness, density) and the question and response technique have been altered.
——————————-
Aurora looked by the terminal window, looking for a signal as the 737 rolled next to her. Had not yet seen, but he knew he would. When the plane rolled almost out of sight, she caught sight of what had been waiting two different flashes. It was Mitch.
Almost a year earlier, had complained that she I could not see through the tiny airplane window, so he devised his private system markedly. A flash of silver box business card meant I loved her and would return soon.
And there it was. They had used the system many times over the past year, but this time was special. Just before boarding, had given what she had been praying for an engagement ring. It was in the form of solitaire white diamond heart-shaped groups on both sides and small diamonds set in the band.
Mitch had planned to give to her after his return, but as he said, "I just could not wait.
"That was just like Mitch, Aurora thought. Usually cool, calm and methodical, but capable of occasional flashes of spontaneity appropriate.
At the moment he put on his finger, every little girl dreams of Aurora on an elegant candlelit dinner, a romantic moonlight stroll along the river, and perhaps even her suitor on one knee, instantly disappeared. Mitch was so anxious as she. That was all that mattered.
At the age of 26, who had of course been in love before. But never like this. It could not have been.
The plane was based on the track about 15 minutes. Finally, powerful roar Rolls-Royce engines in action. He began shooting down the runway, gathering speed needed to lift the heavy mass in the sky.
Aurora retired Mitch handkerchief she had given him her purse. He wore the initials GMA – Gregory Mitchell Adderby. She briefly pressed her nose and breathed in the smell still clung Antaeus to it – the smell. Oh yes, I had been in love before, but never like this.
A little over a year, Mitch had been only his boss but then became her mentor, her lover. And now her soon-to-be husband.
He touched her engagement ring she had worn thin finger less than 30 minutes. Each time Mitch had gone before, the day had drawn. But how could he get through next week now.
Mitch was directed to business Young Designer of the Year Awards Dinner in Chicago, where he was to be honored. At 31, Mitch was still a boy if the business aspect of hair silver. Six years ago, he and a college roommate had founded Rad Foods International, a distribution company in the rapidly growing fruit and vegetables fresh and irradiated. Small compared to its competitors, the company was recognized in general, a real corner and would soon have its place among the greats.
On the plane, Mitch was in a window seat, turned his head trying to catch a last glimpse of Aurora for large windows Niagara Falls air terminal. Laguna brown hair, the waist long, thin limbs. Even at this distance, he could make jeans and ruby red sweater angora fire he had bought a few weeks ago when they were in London. "My light, my sunshine," he whispered.
As the slender figure of Aurora was reduced to one point, Mitch took off his belt and began opening his briefcase. Suddenly, the plane lurched and was released forward, banging his head against the seat in front of him. He sat up, rubbing his sore neck and just start to feel pain radiating down her body. The plane lurched again.
"For God's sake man, get your head down!" Cried the man across the aisle.
"What?"
"Get your head down, you idiot! The plane was going to crash!"
There was no doubt authority in his voice, so Mitch obeyed. He put his chest on his knees, holding the silver card case in the chest pocket of his jacket.
"Fire!" Is the engine! "Shouted someone.
Then, a robust but a bit hesitant dispassionate female voice came from the loudspeaker: "Ladies and gentlemen, please put your head between your knees and keep calm."
As the plane lurched again an overhead luggage rack jar open. If a woman who travels fuchsia crashed to the ground, shedding a shower of colored underwear alike – bras, panties, stockings, nightgowns.
"All of a show," Mitch thought, trying to calm frayed nerves quickly. But the truce lasted only a time.
"Put your seat belt in the damned!" Thundered the man across the aisle. Mitch lost the ball to play, but never did.
On the ground, Aurora was watching the scene with horror. The plane was no longer rising. Instead, it was swaying from side to side as it tries to compensate his mind which way to go. Suddenly, he threw down.
"Oh my God," said Dawn, her heart pounding and the sweat beaded on his forehead.
Suddenly, there was a flash of lightning and a torrent of fire and smoke flowed from the aircraft fuselage.
"It's going to crash! Everyone will die!" Shouted someone.
"No!" Aurora said that the aircraft struck by collapsed sky. Just before hitting the ground, the pilot regained some control. He sent along the track. It screamed and screamed as if paralyzed landing gear gouged huge trenches in the pavement along its path.
Another explosion, more fire and smoke. Finally, the plane skidded to a stop just in front Aurora at the window where he stood.
————————————–
To answer the first question: Can the principles nonfiction (clarity, conciseness, density) shall apply to fiction? In fact, they can. And with considerable effect. So if you've always wanted to write fiction, but felt it was beyond you, why not give it a chance? It may be better than you think.
Philip Yaffe is a former journalist / Feature writer with The Wall Street Journal and a marketing communication consultant. He currently teaches a course in good writing and good speaking in Brussels, Belgium. His book recently published in the "I" in the Storm: the Simple Secrets of Writing & Speaking (Almost) Like a Pro is available History Publishers in Ghent, Belgium (storypublishers.be) and Amazon (amazon.com).
For more information please contact:
Philip Yaffe
Brussels, Belgium
Tel: +32 (0) 2660 0405
Email: @ yahoo.com phil.yaffe, phil.yaffe @ gmail.com
About the Author
Philip Yaffe is a former writer with The Wall Street Journal and international marketing communication consultant. Now semi-retired, he teaches courses in persuasive communication in Brussels, Belgium. Because his clients use English as a second or third language, his approach to writing and public speaking is somewhat different from other communication coaches. He is the author of In the “I” of the Storm: the Simple Secrets of Writing & Speaking (Almost) like a Professional. Contact: phil.yaffe@yahoo.com.
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